"Millport" delivers a stirring though perhaps unexpected reinterpretation of the classic Laurel Canyon country-rock sound alongside Graffin’s insightful lyricism, all propelled by some esteemed colleagues from the LA punk scene including Social Distortion members Jonny ‘Two Bags’ Wickersham, Brent Harding and David Hidalgo Jr., with Bad Religion co-founder Brett Gurewitz producing. The resulting record is less a reinvention then a creative liberation - a group of Los Angeles musicians at the peak of their game, playing a brand of music they genuinely love.
If you thought six million Jews was a lot of people, you should've seen my inauguration 5''
Awesome, hilarious, Anal Cunt-inspired, Donald Trump-satirizing death/grind/noisecore duet from San Diego (California, USA) featuring Travis Ryan of Cattle Decapitation and Rob Crow of Pinback and Goblin Cock! This is their fourth release. Released on March 2017 (digital format), to be released on 5" vinyl format. Note: 100% of net proceeds from this release are donated to the ACLU.
The first new Diamanda Galas album in nine years. "All The Way" features remarkable, radical takes on familiar tunes, including the seminal "The Thrill Is Gone" and a solo piano interpretation of Thelonious Monk's "'Round Midnight". The album's centerpiece is the American traditional "O Death", which has become a staple in live performances, and concludes with "Pardon Me I've got Someone To Kill" by country singer Johnny Paycheck. "All The Way" includes both electric live recordings (recorded in Paris, Copenhagen, and East Sussex) and studio recordings made in San Diego, CA.
"At Saint Thomas the Apostle Harlem" documents Galas' volcanic May 2016 performances as Saint Thomas the Apostle church in Harlem, NY, described by the New York Times as "guttural and operatic, baleful and inconsolable, spiritual and earthy, polyglot and wordless, nuanced and unhinged". The concert, produced by Intravenal Sound Operations and Red Bull Music Academy, was composed exclusively of what Galas calls "death songs." Sung in Italian, German, French, and Greek, the performances include Galas' dramatic settings of the death poems by Cesare Pavese and Ferdinand Freiligrath, as well as interpretations of songs by Jacques Brel ("Fernand", "Amsterdam") and Albert Ayler ("Angels," sung by Galas, who has always believed that Ayler's work is also vocal music). - IsraBox (24.03.2017)
01. Verrá la more e avrá tuoi occhi [8:51] 02. Anoixe Petra [5:20] 03. Angels [5:09] 04. Die Stunde Kommt [9:39] 05. Fernand [5:39] 06. O Death [10:06] 07. Amsterdam [6:28] 08. Artemis [5:31]
Following their long tradition of projects
based on narrative themes, The Residents are pleased to announce the
release of The Ghost of Hope, an historically accurate album based on
train wrecks. Pursuing this theme in both a literal and metaphorical
sense, the group discovered a series of vintage news articles
highlighting the dangers of train travel in the late 19th and early 20th
centuries. Inspired by the era's elegant language, the group then
contrasted that eloquence against the sheer horror of these devastating
events, resulting in an album that sounds both startlingly new and
curiously nostalgic. Using the familiar elements of music, spoken voice,
sound effects and audio textures, The Residents have constructed a
highly original series of tone poems quite unlike the music of anyone
else - except, of course, The Residents. The album features guest
collaborator Eric Drew Feldman - who has worked with everybody cool, so
he's already in your record collection.
01. Horrors of the Night [7:25] 02. The Crash at Crush [6:33] 03. Death Harvest [7:23] 04. Shroud of Flames [5:43] 05. The Great Circus Train Wreck of 1918 [7:03] 06. Train vs Elephant [4:07] 07. Killed at a Crossing [9:01]
"Silver/Lead" is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts. And Newman's production creates a sonic space in which even the smallest gesture is accorded some recognition. Highlights include the optimistic dazzle of "Diamonds In Cups", with its almost T. Rex-style buzz and chug, and the moody swing of "This Time". Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of "Playing Harp for the Fishes" and breakneck-paced guitar pop of "Short Elevated Period". Wire are one of the world's most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it's perhaps not surprising that over recent years, they've played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands. Wire's last three albums garnered nothing but rave reviews. From 2013's strangely beautiful "Change Becomes Us" ('It's fantastic.' Pitchfork) to the crackling motorik of 2015's "Wire" ('It's all really well turned, potent and crisp.' The Guardian), and last year's punchy mini-album "Nocturnal Koreans" ('It's a cracker and sounds defiantly modern.' The Quietus). Consequently, although it may be being released on the band's 40th anniversary, "Silver/Lead" is an album which has nothing to do with the past and everything to do with the future.
01. Playing Harp For The Fishes [3:44] 02. Short Elevated Period [2:54] 03. Diamonds In Cups [4:08] 04. Forever & A Day [4:06] 05. An Alibi [3:10] 06. Sonic Lens [4:30] 07. This Time [4:16] 08. Brio [3:37] 09. Sleep On The Wing [2:59] 10. Silver/Lead [2:39]
pošto samo Bog može da stvori život i jedino Bog zna šta donosi sutra, onda je jedino On i stručno kvalifikovan za "planiranje porodice". Kako je onda jedna mila, sjajna devojka poput tebe uopšte upala u tu priču oko planiranog roditeljstva?
Tvoj dugogodišnji poštovalac.
pročitala sam podatke o populacionoj eksploziji, i videla slike hiljada izgladnele dece koju roditelji nisu želeli i nisu mogli da hrane. I onda sam zaključila kako Bog ipak ne bi mogao da podari život nedužnoj dečici da bi ih onda osudio na smrt od gladi još od malih nogu.
imam jedan problem. Ja sam pristojna i vredna, mada slabo plaćena, i radim kao lokalni mrtvozornik. Zaista je važno da moja porodica ima meso za obrok barem tri puta nedeljno. Međutim, sa sadašnjim cenama, mi to sebi ne možemo da priuštimo. Zbog toga ja ponekad kući s posla donesem po neko fino parče mesa sa leševa koje obdukujem. Samo ga ubacim u blender i - ta-da! Cela familija misli da su moja nova jela super ukusna, pitaju za tajnu. Saveta, čini mi se da su počeli da sumnjaju. Onaj pametnjaković od mog osmogodišnjeg sina stalno pita "Gde nestade silno meso iz frižidera, ono crveno, iz kese sa brojem 2?" Ne verujem da će me razumeti ako ikada saznaju istinu. Saveta, šta da im kažem?
Draga Žrtvo reganizacije,
Obrati se svom svešteniku. Postaraj se samo da leš bude blagosiljan i sve će biti u redu.
It’s All Live Now - live at Swedish National Radio at the Karen Club 1985.
This collection of the band's legendary Swedish live recordings from 1985 includes classic covers of legendary tunes by the Doors, Rolling Stones, Velvet Underground, Television and more. Many of these tracks were recorded live for Swedish National Radio at the Karen Club. Also included is the legendary extended version of "Do It Clean", recorded live at the Royal Albert Hall in 1983.
“We’re fucked,” sings Martin Gore on "Fail", the final track on the new Depeche Mode album "Spirit". It’s not exactly the uplifting, elegiac ending to an album that one is badly in need of by the end of "Spirit", but as a summary of the prevailing mood, that lyric sums it up perfectly.
This is not an album to listen to if you are remotely worried about the state of the world right now. Lead single "Where’s the Revolution?" signalled this, but it didn’t quite prepare you for just how bleak a picture Depeche Mode were planning to paint. From the off, with the edgy, slow-building opener "Backwards" - with its trademark bass-heavy rhythms and edgy, nagging melody befitting of a classic Depeche Mode set piece - it’s clear that "Spirit" is going to be a challenging listen. This is 2-CD Deluxe version featuring 5 remixes created by Depeche Mode, Matrixxman and Kurt Uenala, collectively entitled the "Jungle Spirit Mixes".